Gelah Penn’s approach to sculpture is distinctly existential in character. In a career trajectory that moved across the country and back, from painting to sculpture, to drawing-like forms installed in architectural space, her progress as an artist has been driven by conscious decisions to step outside of convention. Defined less by what it is than by what it is not, her work treads a middle ground (neither here nor there) that keeps her attentive to nuance by denying any kind of well-worn path…see the entire article in the print version of November’s Sculpture magazine.
